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  2. No, You can get some b format here https://freesound.org/people/ramagochi/ and try The first one is converted to 5.1 https://freesound.org/people/ramagochi/sounds/525033/ Done with Harpex-X
  3. You need the TouchstonePro for do a connection with the RF Explorer, and this program can export a CSV file for the WWB This is a scan imported in the WWB
  4. Today
  5. It was a neumann condenser mic. Which didn't have good RF shielding so I had to walk the transmitter away but the only way to get rid of the initial buzz was to plug it into my DPA shotgun and then plug it into the condenser weird how that's how it worked. So just curious so I could educate myself why it worked when I plugged into the DPA first. 20200810_110836.mp4
  6. FWIW, Zaxcom transmitters can adjust band limits in 6 mHz steps via the Factory Menu. Therefore, a block 25 transmitter can be set to only tune from 656 mHz to 662 mHz. 656 to 657 is part of the 653-657 range available to licensed users and 657 to 662 is within the 657-663 range available to unlicensed users and White Space Devices. In the Extended Menu the transmitter's output can be set to 25mW which in practical use should be within the legal limit.
  7. Is first order Ambisonic* ambient recording safe for 5.1 mix in film theaters? Will brings problems as phase cancellation? Thanks, Dan *mic models as for examples: Sennheiser AMBEO VR, Rode nt-sf1
  8. This would most likely only be a problem if you are working in an RF-coordinated environment where someone is assigning you specific frequencies and marking/double-checking your equipment. Outside of that, it would be very difficult to determine both your gear’s power output and ability to tune outside the legal gap unless they’re close someone was close enough to touch it. Personally, I do just enough coordinated events that it had me feeling a bit uncomfortable about using them entirely, and ended up selling all my b25 gear just to alleviate the potential stress. That’s a decision you’d have to make for yourself. If you’re interested in being fully-legal to operate in the guard bands, I believe Wisycom and their B7-band of gear are currently the only pro wireless to fully meet the legal requirements. Of course that may change as other manufacturers decide for themselves whether it’s worth the investment to come out with new gear designed to work within those parameters. For what it’s worth, I spoke with reps from 4 different “location sound specific” wireless manufacturers at NAB2019 about this very subject, and at the time all but Wisy said it currently wasn’t worth it, but would evaluate again in the future.
  9. Yes, it may be true that both machines are designed for different (main) purposes. The way the linked PFL tracks have to be listened to in SD833 in my opinion is a bug, that should be corrected soon.
  10. I mixed a film last year where the majority of the time, it was boomed with an upgraded cmc4->cmc5 by Pete Verrando. I usually use mk41s but in this instance, the majority of the film was in a very confined space, so I needed to use a polar pattern that would have a wider patters and no back lobe, so I used an mk4. I thought it sounded fantastic and was very pleased with the results. Unfortunately I can’t share the files, but if you are trying to make a comparison between the two capsules, I would say that if you are talking about a manufacturer of this level of quality, you have little to worry about. Now, if you were trying to put lipstick on a pig by using a budget setup, that would be a very different story!
  11. The ADR? Or the English Dubbing?
  12. Good to see you here. I am in the Texas Panhandle. Not many location sound people here either. I run a couple of small packages
  13. Yesterday
  14. Oh for sure it did. I'm considering the MK4 for the same reasons. I mostly tape actors' auditions for film and tv they're often moving around bit and I thought the MK4's slighter wider pattern may be a good option for me. Your footage really helped me. It sounds fantastic. So, thanks again.
  15. I personally think that the 2 capsules sound very similar when properly positioned. I used the MK4 in that instance because he liked to move forward and backward and side to side a little so it gave me a wider pattern for that without losing his voice on the sides of the pattern of the MK41. I thought it worked really well.
  16. A lot of you have this info from other sources but I found it interesting. https://www.nbcnews.com/pop-culture/movies/hollywood-s-covid-pandemic-disruption-storyline-desperately-needs-rewrite-n1235823 Best Regards, Larry Fisher
  17. That would be amazing, Trey. If you could hold it or boom from above about 12"-14", that would mimic how I typically place my mic for stationary booming on a C-stand (for actors' film auditions + interviews, etc.) I use a CMC1 with a Cut-1 and an MK41 and LOVE this set-up. But I've still very curious about the MK4, which I haven't tried (obviously). 🙂
  18. I recorded an interview a number of years ago with an MK4 on a CMC6. If you don’t mind a religious video you can look it up on YouTube, Patterns of Light. It’s a 3 part series and all 3 have the interview from that mic. I would be surprised if I have the original audio files anymore, but that should give an idea of the sound.
  19. Does anyone have any dialogue audio samples that I can hear... of a Schoeps CMC1 or CMC6 with an MK4 (not a 41)? (Preferably at 12"-14" from subject) If you do have anything to share, do you remember if you were using a Cut-1 or Cut-60 or using a low cut on the mixer? Thanks, in advance. Much appreciated. Paul
  20. Hi ramallo, how can Wireless Work Bench see the spectrum of RF Explorer? Wireless Microfone Analyzer is able to see RF Explorer on USBtoUART. christian
  21. I might be back end of August. I took a CoV-19 Compliance certification course end of July. I hope the internal battery on my SD664 still holds...
  22. i think a lot of the SD stuff is fantastic but is generally built for dialogue. it was one of my frustrations with previous SD recorders i owned. i think having input trim linking is a major step in the right direction. i assume you can link as many input trims as you want with the 8 series. but haven’t used any of the 8 series/scorpio so i don’t know for sure.; i think it would be really cool if SD did something like the cantar x3 where, on top of having input linking, you can have fader 1 control the fader level for the M channel while fader 2 controls only the side channel. this way you can control the ms signal that goes to the mix track and still have a discrete ms signal to hand over to post. the sx-r4+ has easy input linking and you can achieve more mixing if you add the rotary fader box or the linear fader panel. it sounds beyond great for stereo and ambisonic capture.
  23. There is a gain mode and a fader mode in the SX-R4+. In gain mode up to 4 channels can be linked (assignable). No linking possible in fader mode (of the SX-R4+). When I listen to the prefade signal of any linked channel with the R4+, I can hear the signal in both ears, which gives me the opportunity to evaluate the sound.
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